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Course Criteria
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3.00 Credits
This course will focus in a variety of ways on the development of skills for writing plays. The emphasis will be on written dialogue and dramatic action, with the aim of producing brief scripts. There will be extensive readings and discussion of published and unpublished plays in addition to regular writing assignments. The course may be conducted to some extent in workshop format; the emphasis will be on continuing to develop writing skills. Prerequisite: English 120 (Introduction to Creative Writing) taken at Macalester. Alternate years. (4 credits)
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3.00 Credits
This course will focus in a variety of ways on the development of skills for writing screenplays, building on the work done in English 120. The emphasis will be on narrative films, with the objective of writing a feature-length screenplay during the semester. There will be extensive readings and discussion of published and unpublished screenplays in addition to regular writing assignments. The course may be conducted to some extent in workshop format; the emphasis will be on continuing to develop writing skills. Prerequisite: English 120 (Introduction to Creative Writing) taken at Macalester. Alternate years. (4 credits)
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4.00 Credits
Wide-ranging survey of Chaucer's medieval narrative arts, through study of the great story collection The Canterbury Tales ?omic, courtly, bawdy, satiric-and his wry dream-vision poems. Alternate years. (4 credits)
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4.00 Credits
Monsters, dragons, demons, magicians, shape-shifters, nature spirits, fairies, giants, cannibals, grotesques, and many other fantastic creatures inhabit the stories, poems, and visual arts of the Middle Ages. By surveying works from England, Wales, and Scandinavia we will consider subjects like the nature of the uncanny and the fantastic; the ways that monstrosity works out anxieties about unknown others (Easterners, Africans, women, Saracens, Jews); the effects of enchantment, disenchantment, shape-shifting; why monsters fit so well into genres of heroes and of saints; the ways that monster-vs.-hero stories handle the interior strains of change, transformation, growing to adult identity; differences between today's monsters and medieval ones. Texts will include Beowulf, The Mabinogion, Sir Orfeo, Sir Gawain and the Green Knight, The Saga of the Volsungs, The Saga of King Hrolf Kraki, Malory's Morte Darthur. Alternate years. (4 credits)
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4.00 Credits
Around the twelfth century in Western Europe, passionate love between man and woman became a crucial literary subject; in writing, epic made room for romance and love lyric, and love came to be as important a sphere as war in which to work out a sense of individual identity or even destiny, social bonds, religious issues, family matters. What defines the forms of medieval love in poetry and narrative We will study stories and poems from Arabia, Andalusia, France, Italy, and England. All works will be read in modern English versions. Alternate years. (4 credits)
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4.00 Credits
Myths from early Greek, Roman, Egyptian, and Celtic traditions, chosen with an eye to later writers' fascination with them, especially in British and American poetry. After an intensive survey of the primary works in translation from ancient Greece, ancient Rome and north Africa, and medieval Wales, we will read mythopeic poems written in English from the Renaissance until the present moment, to discover what poets do with myth, why some rebel against it so strongly and repeatedly in their poetry, why it comes to seem coterminous with poetry itself. Poets to be considered may include Christopher Marlowe, Edmund Spenser, Ben Jonson, John Milton, William Blake, John Keats, Wallace Stevens, Anne Waldman, Carolyn Kizer. Alternate years. (4 credits)
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4.00 Credits
This course focuses on Shakespeare's history plays and tragedies. Readings may include Richard III, Richard II, Henry IV, Henry V, Titus Andronicus, Romeo and Juliet, Julius Caesar, Troilus and Cressida, Hamlet, Macbeth, King Lear, Othello, Antony and Cleopatra, Coriolanus, and the occasional play by one of Shakespeare's contemporaries. Every year. (4 credits)
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4.00 Credits
This course will focus on Shakespeare's comedies, his comic characters, and his late plays, those we've come tocall romances. Readings may include The Comedy of Errors, Love's Labor's Lost, A Midsummer Night's DreamThe Merchant of Venice, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, Twelfth Night, The Winter's Tale, Pericles, Cymbeleine, The Tempest, and the occasional play by one of Shakespeare'scontemporaries. Every year. (4 credits)
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4.00 Credits
This course examines a selection of plays by Shakespeare's greatest contemporaries and rivals: among them Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton, Francis Beaumont and John Fletcher. Topics will include secularization, commercialism, staging and performance, meta-theatricality, deception, revenge and violence, black comedy, melodrama, transvestitism, eroticism. Alternate years. (4 credits)
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4.00 Credits
Lyric and narrative poetry from the end of the Middle Ages to the Restoration, including sonnet sequences, song lyrics, mythological and epic narrative by Sidney, Shakespeare, Campion, Wyatt, Marlowe, Ralegh, Wroth, Spenser, Lanyer, Donne, Jonson, Herbert, Herrick, Marvell, Milton. Alternate years. (4 credits)
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